A love song from a shopping list?

https://www.newindianexpress.com/entertainment/tamil/2021/Jun/28/ms-v
iswanathan-and-kannadasan-two-geniuses-born-on-same-day-2322287.html

It is said that when MS Viswanathan and Kannadasan sat down to compose a song, MSV would usually hum a tune to Kannadasan. Just as the melody is hummed, Kanadasan would just mouth pearls of wisdom that would live to be evergreens, able to stand the test of time. All MSV had to do was murmur. Kanadasan would string his verses in his mind and roll them effortlessly, all good to go at first take.

While making the 1962 movie 'Bale Pandya' (Bravo Pandya), Kannadasan brought MSV a paper that MSV thought was a shopping list. At one look, MSV thought Kannadasan had written down the names of vegetables and fruits. Kannadasan told him to play a tune that could fit the verses. MSV asked him why he was asking for a tune for a shopping list. Kannadasan insisted it was a love song and that he could explain everything afterwards. 

https://varnam.my/98228/honoring-the-legacy-of-the-
melody-king-m-s-viswanathan-on-his-96th-birthday/

It turned out to be a love song belted out by two couples on their wedding night. Of course, it was not a shopping list for the next morning, but a manner in which they were expressing their undying love on their first night of wedded bliss. Kannadasan then explained, in detail, each word of the song to each actor so they could act their parts. When MSV suggested that the cryptic details may not be apparent to the audience, the director then butted in to say that it is his job to frame all this on film. In the song, the poet personifies the moon as a female (as opposed to the sun as a male), where the heroine bares her soul to the moon about her love to the beau and asks the moon to be her messenger to pass the love message. The word 'kaai' can be used to mean 'to dry', unripe fruit, glow as a metal would and many more. The poet cleverly conveys all these meanings to write a love song. The song remains an evergreen and is a testimony to the poet's genius and the music director's versatility.

In literary terms, the formal term for punning and deliberate wordplay in poems is paronomasia.

Athikaai kaai  kaai  aalankaai

Vennilavae ithikaai Kaayadhae ennai pol Pennallavo

Nee Ennai pol pennallavo

Athikaai kaai kaai aalankaai

Vennilavae ithikaai Kaayadhae en uyirum Neeyallavo

En Uyirum Neeyallavo athikaai

Kaai kaai aalankaai Vennilavae

Kannikaai Aasaikaai kaadhal

Konda paavaikaai Angae kaai avaraikaai

Mangai endhan kovaikaai 

Maathulankaai Aanalum en ullankaai

Aagumo ennai nee Kayadhae en uyirum neeyallavo

Ithikaai Kaayadhae ennai pol Pennallavo

Iravukaai Uravukaai yengum Indha ezhaikaai

Neeyum kaai nithamum kaai 

neril nirkum ivalai kaai

Uruvankaai Aanalum paruvankaai

Aagumo ennai nee Kaayadhae ennuyirum nee allavo

Athikaai kaai kaai aalankaai

Vennilavae ithikaai Kaayadhae en uyirum Neeyallavo

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Another Kannadasan composition...

Movie: Avandhaan Manidhan
Poet: Kannadasan
Music Director: MS Viswanathan
Singer: TM  Sounderajan

This is another song written by Kannadasan for the movie ‘Avanthaan Manithan’ (அவன்தான் மனிதன், Only He is Human). The film tells the story of an industrialist with a tragic past. His wife died in childbirth, and his child drowned as a toddler. Despite his sorrows, he puts on a happy face and carries on his earthly duties, manning his matchstick plant and helping his employees.

Tragedy strikes again when the cargo ship transporting his merchandise goes down. Due to some technical issues, he does not get any compensation. He soon turns a pauper. His mansion is auctioned off.

His philanthropy elevated his favourite worker, who bought over his house and offered it to his boss. Unfortunately, the industrialist is too proud to take handouts. He downgrades himself to live with his faithful butler. The charity bug never left the industrialist. Despite being in dire straits, his addiction to giving charity never waned.

The above song appeared when the industrialist was sitting down, reflecting on the life he had lived.

Kannadasan thought his life, giving and giving even at times of trouble, was comparable to that of Karna’s in the Mahabharata. Hence the composition.

(1)ஆட்டுவித்தால் யாரொருவர் ஆடாதாரே கண்ணா
 ஆசையெனும் தொட்டினிலே ஆடாதாரே கண்ணா

Somebody is initiating the dance; no one is exempt, Kanna?
Nobody escapes the trap of desires. 

Interpretation: In the dance called life, God starts the ball rolling. Everyone has no choice but to partake in the reverie. But beware, we are entwined in it by the lure of pleasures. We are kept trapped in these chains of interpersonal bonds and worldly materials.

(2)நீ நடத்தும் நாடகத்தில் நானும் உண்டு
 (3)என் நிழலில் கூட அனுபவத்தில் சோகம் உண்டு

In the dance that you organise, I am also in it, 
My shadows, too, feel the experience of melancholy.

Interpretation: The emotions that life brings affect every part of our body. Our mannerisms, the way we move, and our general appearance are testimony to the fact. 

(4) பகைவர்களை நானும் வெல்வேன் அறிவினாலே
 ஆனால் நண்பனிடம் தோற்று விட்டேன் பாசத்தாலே

I will win over enemies with intelligence,
But I lost to my friend because of affection.

Interpretation: We think we are logical and use our thinking sense to act wisely. The fact of the matter is, we are biased. The bonds that we build cloud our actions.

(5)பாஞ்சாலி உன்னிடத்தில் சேலை கேட்டாள்
 அந்த பார்த்தனவன் உன்னிடத்தில் கீதை கேட்டான்
 நானிருக்கும் நிலையில் உன்னை என்ன கேட்பேன்
 இன்னும் நன்மை செய்து துன்பம் வாங்கும் உள்ளம் கேட்ப்பேன்

Panjali (Draupadi) asked you for saree,
That Partha (Arjuna) asked you for the Gita,
What can I, in this situation, ask from you?
Even now, a heart to do good to be returned with tragedy.

Interpretation: This is easily the most meaningful message in this song. It relates to the story of the Mahabharata. When Yudhishtra, the Pandava king, gambles off his kingdom and property, he also loses his wife, Draupadi (aka Panjali). When the Kaurava thought it was alright for them to disrobe and humiliate a menstruating queen, she pleaded to the Gods for a longer saree to protect her honour. On the eve of the Kurushetra War, Arjuna had cold feet. The idea of combating, mortally wounding or outright killing his uncles and cousins was confusing. For that, Krishna started what can now be termed a counselling session. The conversation was immortalised as the Bhagavad Gita (Gita). In the real world, when someone asks you what you really want, what do you say? First, you would think it is a trick question. What is the catch, and what is it for you? In the verse, the Poet quotes Karna's supposed request, 'the ability to continue helping people in next births'. Apparently, this was not mentioned in Valmiki's original version of the Mahabharata. 

(6)கடலளவு கிடைத்தாலும் மயங்க மாட்டேன்
 அது கையளவே ஆனாலும் கலங்க மாட்டேன்
 உள்ளத்திலே உள்ளது தான் உலகம் கண்ணா
 இதை உணர்ந்து கொண்டால் துன்பமெல்லாம் விலகும் கண்ணா

Even when I get wealth as deep as the ocean, I won't be inebriated,
Even if it's just a handful, I won't be sad,
Only what is in your heart is your world, Kanna,
Only when this is realised does sadness go away, Kanna.

P.S. Krishna is also affectionately called Kanna, amongst many other names. 

Interpretation: This is another life lesson. When endowed with great wealth, one should not be intoxicated by the pleasures it can offer. Even if it is hardly enough to go around, one should not falter. One should contend with what one has. This realisation leads to happiness. Be happy with what one has.

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A Poet Extraordinaire

Some people eat to live. Whatever comes their way, they would eat, mindful of the calories and ensuring their nutritional values. Others live to eat. They do not mind toiling in the blazing sun or braving the heavy traffic to savour his prized street food, flaunting it in his social media page and insisting that his choice of food is to die for.

While some would hum to a tune, listen to it for a while, then forget about it altogether. Then it would be another song and another obsession. Some of us would dissect and analyse its lyrics, musical composition, ragaa, and taala just for the kick of it.

Pandi Durai is one such character. Malaysians first knew him as a Tamil newscaster on Malaysian TV. He was later heard on RTM Channel 6 radio at noon on Sundays, discussing Tamil culture and language through Tamil cinema songs. It came to be quite a hit among Tamil language connoisseurs. He later organised annual conferences to appreciate the compositions of Poet Kannadasan in Tamil cinema. Kannadasan can easily be crowned as the most creative and erudite composer of Tamil. His knowledge of Tamil grammar, vocabulary, and poetry is beyond compare. His ability to pen beautiful, poetic lyrics filled with wordplay and smart innuendoes is undoubtedly genius. 

Juggling between his job as an advocate in the Malaysian Courts, his passion for the Tamil Language and his keen interest in Tamil cinema songs of the yesteryears, he started this function to appreciate the lyrical genius of Poet Kannadasan's songs. These events have been held annually for some time now. I recently attended one such event in a packed auditorium in Kuala Lumpur. Equipped with an excellent sound system, a live band, and three excellent singers and musicians, the function lasted close to five hours on a Sunday afternoon, bringing joy and contentment to people who appreciated the Tamil language and culture, as well as the hidden messages behind Kannadasan's evergreen compositions.

Amidst the song renditions, Paandi Durai interjected with his understanding of what Kanndasan was trying to say in his songs. He went on to unveil some of the cryptic messages Kanadasan may have intended to convey. There were also some innocent-sounding songs that, if decoded, may be X-rated and not suitable for a general audience. Yet, kids of the 60s and 70s were happily singing them away without an iota of clue of their lewd messages that a sex-craved lover would signal to his equally receptive partner.  

Like that, Paandi went on analysing a couple of songs under the categories of love, social message, philosophy and devotion. All in all, it was an evening that left its audience in a state of literary inebriation. They returned to the real world with the comfort that their ancient language has stood another generation of assault from other lingua francas of the world. 

One particular song that intrigued me that evening, that I have been listening to throughout my life without knowing its deeper meanings, was 'Paarthen Sirithen' (பார்த்தேன் சிரித்தேன்) from the 1965 movie 'Veera Abhimanyu' (வீர அபிமன்யு). The film revolves around the title character, Abhimanyu, Arjuna's son, the teenage warrior extraordinaire of the Kurushtera. When the director summoned Kannadasan to pen a sweet love song for Abhimanyu and his on-screen love interest. Kanadasan decided to be cheeky and composed a love song with the word 'then' mentioned 65 times. 'Then' in Tamil means honey. In it, he used 'then' as honey, the essence in the lover's beauty, the joy of their love, the passion of their union and the ecstasy of their passion. Many things are left to the listeners, but imagination sometimes has no limits. 'Then' is also used as an adverb. Through the programme, I also discovered that the word 'malai' can mean 'stunned' as well as 'mountain'. The poet cleverly uses this wordplay in a verse; the honey from the mountain, she is stunned. 

பார்த்தேன் சிரித்தேன் பக்கத்தில் அழைத்தேன்

அன்று உனைத் தேன் என நான் நினைத்தேன்

அந்த மலைத் தேன் இதுவென மலைத்தேன்

பார்த்தேன் சிரித்தேன் பக்கத்தில் அழைத்தேன்

உனைத் தேன் என நான் நினைத்தேன்

அந்த மலைத் தேன் இதுவென மலைத்தேன்

பார்த்தேன் சிரித்தேன் பக்கம் வர துடித்தேன்

அன்று உனைத் தேன் என நான் நினைத்தேன்

அந்த மலைத் தேன் இவரென மலைத்தேன்

பார்த்தேன் சிரித்தேன் பக்கம் வர துடித்தேன்

உனைத் தேன் என நான் நினைத்தேன்

அந்த மலைத் தேன் இவரென மலைத்தேன்

கொடித் தேன் இனியங்கள் குடித்தேன் என

ஒரு படித் தேன் பார்வையில் குடித்தேன்

கொடித் தேன் இனியங்கள் குடித்தேன் என

ஒரு படித் தேன் பார்வையில் குடித்தேன்

துளித் தேன் சிந்தாமல் களித்தேன்

ஒரு துளித் தேன் சிந்தாமல் களித்தேன்

கைகளில் அணைத்தேன் அழகினை இரசித்தேன்

பார்த்தேன் சிரித்தேன் பக்கம் வர துடித்தேன்

உனை தேன் என நான் நினைத்தேன்

அந்த மலை தேன் இவரென மலைத்தேன்

மலர்த் தேன் போல் நானும் மலர்ந்தேன்

உனக்கென வளர்ந்தேன் பருவத்தில் மணந்தேன்

மலர்த் தேன் போல் நானும் மலர்ந்தேன்

உனக்கென வளர்ந்தேன் பருவத்தில் மணந்தேன்

எடுத்தேன் கொடுத்தேன் சுவைத்தேன்

எடுத்தேன் கொடுத்தேன் சுவைத்தேன்

இனித் தேன் இல்லாதபடி கதை முடித்தேன்

பார்த்தேன் சிரித்தேன் பக்கத்தில் அழைத்தேன்

உனைத் தேன் என நான் நினைத்தேன்

அந்த மலைத் தேன் இதுவென மலைத்தேன்

நிலவுக்கு நிலவு சுகம் பெற நினைந்தேன்

உலகத்தை நான் இங்கு மறந்தேன்

நிலவுக்கு நிலவு சுகம் பெற நினைந்தேன்

உலகத்தை நான் இங்கு மறந்தேன்

உலகத்தை மறந்தேன் உறக்கத்தை மறந்தேன்

உன்னுடன் நான் ஒன்று கலந்தேன்

பார்த்தேன் சிரித்தேன் பக்கம் வர துடித்தேன்

உனை தேன் என நான் நினைத்தேன்

அந்த மலைத் தேன் இவரென மலைத்தேன்

It was a time when personal intentions could not be expressed explicitly. Private desires were often spoken in double-speak, hoping that the intended recipient would get the hint. Kannadasan's song lyrics have always been hailed as poetic, revolutionary and of high literary value. His wordplay in Tamil and additions of scriptural teachings are beyond the imagination of an average man.

Many of Kannadasan's songs and poems end with rhythmic cadences. It is said that when a director repeatedly harassed him to write a song by May, he did so. He cooked up a song ending with 'mei' at every verse (அன்பு நடமாடும் கலைக் கூடமே - Anbu Nadamadum kalaikudame in Avanthaan Manithan, 1975 movie).

Kannadasan can also be cheeky at times. Once, his musical director, MS Viswanathan, did not turn up on time for a composition session. MSV had overslept after a late session. Annoyed, Kannadasan wrote something to mean 'why does he care, he is sleeping. I am the person who will be caught!' Somehow, it was appropriate for the scene they were composing. It became a hit without anybody realising the hidden message. (அவனுக்கென்ன தூங்கிவிட்டான் - Avanukku Enna, Thungivittaan in Periya Idathu Penn, 1963)

The most bizarre story about Kannadasan's ingenuity is supposed to be seen in 1961 Paava Manipu. A Muslim family adopted a Hindu boy. He grew up as a devout Muslim man and is active in religious and charity work. He was seen taking part in an Islamic procession singing praises of Allah. This song, composed by Kannadasan, has every verse ending with 'Om'. This was the poet's subtle way of showing that this Muslim man has Hindu roots. Nobody knew till many years later. Imagine an Islamic song with ‘Om’, the divine Hindu sound, at every verse. Integration or what?

The event witnessed a tear-evoking moment when the audience was informed that Kanadasan’s son, Annadorai, was in attendance. He was later honoured in the typical Tamilian way, with a silk shawl and a garland. 

A Sunday afternoon well spent. 

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A love song for a serial killer?

Moodu Pani (Tamil, மூடு பனி; 1980)
Screenplay & Direction: Balu Mahendra

The only time this movie is remembered is when the superhit song from its original soundtrack is played. And, mind you, this song is played at many functions. That super-duper hit song I am referring to is 'En Iniya Pon Nillave' (என் இனிய பொன் நிலாவே). It does not take much to recognise that song. A few seconds into its opening guitar sequence, it clicks. The song was composed by Illayaraja, also known as 'The Maestro' these days, as more music connoisseurs are realising that his compositions are complex and deserving of orchestral performances.

Like many of his compositions, this song can be regarded as another masterpiece. Although it might seem, at first glance, to be a Western piece featuring prominent guitar sounds and rhythm, it actually blends elements of Carnatic and Hindustani ragas. Naturally, flutes are a universal instrument. Indian musical experts state that this particular song is performed in Natabhairavi, a Carnatic raga. Apparently, two talas were employed in this song, one after the other, to express the discordant emotions conveyed in the scene. 

In the scene, the protagonist, a mentally disturbed man who grew up witnessing his mother repeatedly being abused by his father while keeping a mistress, develops an intense aversion to women, especially sex workers. A psychiatrist suggests that he should get married. When a girl he proposes to declines his advances, he turns into a kidnapper. He confines the woman in a bungalow to coerce her into submission. Realising that resistance is futile, she tries to put up a front in front of him. She pretends to show genuine interest in him while the kidnapper pours out his heart. Reflecting these emotions, the tune is designed to oscillate between creating an uneasy feeling and an outpouring of emotions; between anxiety and love.

The song is played in the minor chord (Aeolian scale) of melancholy, often associated with sadness and break-ups. There is inherent loneliness and despair in both parties. The girl had her intentions to escape her captor, and the man had his tumultuous emotions and bottled-up rage. This is not a happy love song. There is no jubilation. It is a glimpse into the mind of a madman. The melody and lyrics are not mere fillers to complement the film score but serve to reinforce the story and reveal what is not explicitly stated in the lines.

This is Illayaraja's 100th film, in which he composed the songs. It belongs to one of the rare genres of Tamil cinema—a psychological thriller written in the vein of Alfred Hitchcock's 'Psycho'. Like Norman Bates, the protagonist kills women and keeps the remains of his dead mother under the sheet. 

Here's a little trivia. The initial tune he submitted for this scene was 'Iniya Nila Pozhikirathu' (இனிய நிலா பொழிகிறது). However, it was rejected by the director because it sounded too cheerful and optimistic. This song was later utilised in another film, Payanangal Mudivatharvillai, which also became a hit song. Gangai Amaran, Illayaraja's brother, composed the lyrics, and KJ Yesudas lent his melodic voice to the final version.

Reference: Youtube: Oru Naal Pothuma Ep 186

Sad love song!

Hopeful love song!

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A patriotic poem.

Full River Red (China; 2023)

Director: Zhang Yimou

'Full River Red' is a patriotic poem written by Yue Fei, a Chinese general during the reign of the Southern Song Dynasty. There was a time when the Jin Dynasty overpowered the Northern Song Dynasty from the area now known as Manchuria. Yue Fei was assigned to recapture the northern capital from the intruders. Just as he was about to overpower the invader, he was told to retreat.

The Southern King thought the released Northern King may have a claim to the throne. Yue Fei was called back to the southern capital, charged with trumped-up charges, and executed or died in prison. He was a victim of an internal political imbroglio. An established poet, Yue Fei wrote the poem to stir patriotic fervour among the people. It portrays his hatred towards the invading northern army and his frustration toward the peace accord with the Jin dynasty from the north. 'Full River Red' has become a masterpiece in the history of Chinese literature.

To put cold water into the sense of Chinese patriotism, a renowned Song scholar from Princeton, James T. C. Liu, says that the poem may have been written in the 16th century, looking at the words used. Yue Fei lived between 1103 and 1142! So, the poem may not be his at all.

As complicated as Chinese history was when we studied it in school, with similar-sounding names and convoluted turns of events, this movie follows the same trajectory. It should have occurred five years after Yue Fei's demise.

The Chancellor, who worked under the umbrella of the Southern Song emperor, had made a secret agreement with the Jin Dynasty representative. Yue Fei's supporters (the people) intercepted the papers by killing the Jin's messenger. The Chancellor had to prevent his maleficence from being out in the open. He assigns two men to find the culprit.

That snowballs into a sword unsheathing, head decapitating, violence-filled dark comedy. The film's climax is the poem's recital by all the prisoners. The entire army rises to the occasion with the inspiring patriotic hair-raising words of the poem.

This film turned out to be one of the highest-grossing Chinese movies. It is nothing more than using a common heritage to spur nationalism. But then, do they really share a common heritage when the People's Republic of China may be viewed as the rule of the Han people over other ethnicities like the Manchus, Uighurs, Tibetans, Mongols, and more. I am not sure whether the Chinese living in the areas bordering Central Asia and Tibetans share the same romantic views on a shared history.

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